Christensen Brothers by Sheryl Flatow

Christensen Brothers by Sheryl Flatow “Ballet west of the Mississippi is pretty much By the time he was in his early twenties, Willam the creation of the Christensen brothers – was a highly regarded teacher at the school in Willam, Harold, and Lew,” wrote Arlene Croce Ogden. He really wanted to dance ballet, not in 1980 (“Going to the Dance,” p. 311). teach it, but in the early part of the twentieth Separately and together, with passion and century there were no professional ballet ingenuity, tenacity and perseverance, companies in the United States. So, in 1927, he imagination and talent, the Christensen and Lew hit the vaudeville circuit, and a year brothers helped ballet take root in this country, later they were in New York. They swiftly made and their influence reverberates today. it to the prestigious Orpheum circuit with an act for two couples; one of the women, Mignon Willam (1902-2001), as artistic director, Lee, would become Willam’s wife. Despite the choreographer, and teacher, transformed the inclusion of women, the act was really a fledgling San Francisco Ballet from an showcase for male dancing. “Lew and I had to appendage of San Francisco Opera to an be virtuosos,” Willam said. “We had to turn and independent company, and introduced leap like sons-of-guns, and dance fast to keep countless numbers to classical dance in San audiences interested. Because at that time not Francisco and beyond. He then went on to many people knew what we were doing. Were found the ballet department at the University of we gymnasts? Were we acrobats? But Utah – the first of its kind in the country – and 1 audiences liked us.” to establish Ballet West. Harold (1904-1989) was a gifted teacher who directed San Francisco In 1932, Willam and Mignon left the act. She Ballet School for 33 years, and brought it to had undiagnosed health problems, she was national prominence. Lew (1909-1984) became pregnant, and the couple needed a more stable the first American premier danseur under the lifestyle. They moved to Portland, where Willam guidance of George Balanchine, and later ran the Christensen School and formed a small succeeded Willam as artistic director of San company, Portland Ballet. “That’s where I really Francisco Ballet, guiding the company to even started to choreograph,” he said. “I greater success. experimented and learned.” Early Years Harold, who had originally chosen West Point The brothers were born in Utah to a Mormon over a ballet career, replaced Willam in the act. family, many of whom were musicians and He had left the military academy after a year dancers. They received their early training from and begun to study ballet in earnest. He also their uncles, who had studied in New York with showed a talent for teaching, and was put to the Italian teacher Stefano Mascagno and went work at both the Ogden and Seattle schools. His on to found schools in Seattle; Portland, teaching would evolve even more after he Oregon; Salt Lake City; and Ogden, Utah. joined Lew in vaudeville. They remained on the Willam, Harold, and Lew would also study with circuit until 1934, when they and their partners Mascagno, first when he visited Utah, and later were cast to dance in a Broadway operetta, The in New York. Great Waltz. With their mornings and Copyright © 2012 Dance Heritage Coalition 1 afternoons free, the brothers began attending In the spring of 1938, Willam became the the School of American Ballet, founded in director of San Francisco Opera Ballet. January of that year by George Balanchine and Lincoln Kirstein. The education they received Among his many accomplishments, perhaps none is more significant than his insistence on under Balanchine’s tutelage would later transform San Francisco Ballet School and San bringing ballet to the people and building audiences. He began giving Francisco Ballet. lecture/demonstrations in San Francisco and all Willam visited New York in 1934, and spent a around the Bay Area, and also organized a brief time studying and performing on group to undertake a West Coast tour. “First we Broadway with Michel Fokine. “I was a little stiff went to cities in Northern California, and then as a dancer when I went to Fokine, because of we began going to places like Portland, Seattle, my Italian training,” he said. “Fokine wanted the Vancouver, and a lot of little towns,” he said. movement to be more lyrical, more plastic, “Eventually the San Francisco Opera Ballet freer. He changed my whole attitude toward came to be quite well known.” dance, and I taught what I learned from him.” The company’s schedule independent of the Building San Francisco Ballet opera began to grow. The repertory was made In 1937, Willam was invited to join the four- up mostly of ballets choreographed by Willam, year-old San Francisco Opera Ballet – as it was encompassing everything from folk ballets— known until 1942 – as a dancer. But Willam had dances that relied heavily on steps and bigger plans. He brought with him to the Bay character movement from Spain, Hungary, Area several of his students from Portland, and Russia, etc.—to contemporary pieces with immediately set up the Oakland branch of San American themes. Although he occasionally Francisco Ballet School. Within weeks of his created abstract ballets, such as Chopinade arrival, San Francisco Ballet presented in (1935) and Bach Suite (1938), he preferred story Oakland an all-Christensen concert, made up of ballets: mythological pieces such as Triumph of three ballets by Willam and one by Lew. Among Hope (1944) and Pyramus and Thisbe (1945), those who appeared on the program were Janet and humorous Viennese confections like In Reed and Jacqueline Martin – two of the Vienna (1938) and Winter Carnival (1942). The dancers who made the move from Portland to latter piece included elements of vaudeville, as San Francisco – and the three brothers did two other humorous works steeped in Christensen, with Lew and Harold appearing as Americana, And Now the Brides (1940) and The guest artists. Audiences, dancers, and critics Nothing Doing Bar (1950). “I tried to present were impressed, and in no time students from balanced programs,” he said. “A little beauty, a the San Francisco branch of the school were little drama or romance in the middle, and a lot flocking to Willam’s classes. of virtuosity at the end.” “I was a good teacher,” Willam said. “My Willam was also enthralled by the great full- dancers were technically better than the San length classics – although he had never seen Francisco dancers, because my training was them. In 1939, he choreographed San Francisco better. After three or four weeks I was engaged Ballet’s first full-length work, Coppélia, in which to go to San Francisco, and I dropped Oakland.” he played Franz opposite the Swanilda of Janet Copyright © 2012 Dance Heritage Coalition 2 Reed, the company’s first prima ballerina. The on 126 roles. It was an overwhelming success, following year he choreographed the first full- and became an annual event in 1949, thus length American production of Swan Lake, and establishing a holiday tradition. Ballet West has in 1944 the first complete version of The danced Willam’s production since 1955. Nutcracker ever seen in this country. There was never much money during the years Lacking intimate familiarity with these ballets, that Willam ran the company, but thanks to his he investigated them as best he could. “I was a dogged persistence, his absolute belief in what good reader, and a great student of music and he was doing, San Francisco Ballet continued to ballet,” he said. “And I must have had a little grow. “If I was concerned about money, there talent, too. I knew the story [of Coppélia,], and wouldn’t have been a San Francisco Ballet,” he by reading the score I was able to choreograph said. “There might be one now, but there Coppélia. I also talked to anybody who had wouldn’t have been one then.” In 1942, when knowledge of the ballet. That’s the same way I the war made it impossible for the Opera to did Swan Lake and Nutcracker.” financially maintain the company, Willam and Harold bought the school for $900. Harold, who Willam had seen the second act of Swan Lake had moved to the West Coast two years earlier, performed by the Ballet Russe de Monte Carlo, was named director and under his leadership, but was unfamiliar with the other three acts. He the school flourished. had no idea that Odette and Odile were played by the same ballerina. So when Swan Lake Lew Christensen, Dancer and Choreographer premiered, Odette was danced by Martin and While Willam was guiding San Francisco Ballet Odile by Reed. (When he later learned of his through its critical formative years, Lew was mistake, he changed it.) Lew made a guest 3,000 miles away in New York, working with appearance as Siegfried. Balanchine. In 1935, when Balanchine was appointed ballet master of the Metropolitan Willam had a bit more familiarity with The Opera, he invited Lew, Harold, and Ruby Nutcracker. He had previously choreographed Asquith (Harold’s partner and future wife) to some of the divertissements from the ballet and join his American Ballet, which had become the was familiar with other scenes thanks to a Metropolitan Opera’s resident ballet company. truncated version he’d seen performed by the Also a member of that company was Ballet Russe. He pieced his production together Caccialanza, who would become Lew’s wife. He from several sources and contributed his own remained with Balanchine through the early choreography.

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